Chords for Psychic TV - Interview + Live Toronto 1990

Welcome to the [C] bus. _ _ _ _ _
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[C] _ _ _ _ _ _ _ _
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[Gm] _ _ [A] _ _ [Ab] _ _ _ _
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_ _ _ _ _ _ [Fm] It's a 1966 _ school [Gb] bus _ and it was chosen _ _ because Ken Kesey and the Merry Pranksters drove around in a 1966 school bus,
which I was very fortunate to visit in Oregon a few years ago, meet Ken Kesey.
And that spirit of freedom and exploration, _ kind of traveling around in a nomadic way,
with a unit of people dedicated to the expanding of frontiers of what is possible and how people can relate to each other,
is one of the essential central themes of our attitude and way of life.
It's also very practical [G] because as you can see it's our entire satellite of life.
The drug taking has [Gb] begun.
I want to walk too, [E] don't believe [Em] _ everything you say,
your [G] language, and your [E] soul, which you control with your words,
as they fly around that damn _ experiment.
[Em] Oh, I love you.
_ I misunderstood the [E] slang in Chicago.
_ Acid meant acid burn, which was just street slang for sampling of other records,
sampling rare groove beats and tiny two bar bits of James Brown and then spinning things in.
_ And [Eb] I'd always been saying, and so had most of the band, that we were looking for a psychedelic [F] dance music.
So in my naive way I'm thinking, oh right, acid, psychedelic, LSD and so on.
That's not all the story, but that's how I was perceiving it.
[Gb] So when I was looking at it, I was looking for a dance music that you could get lost in
and that would have, as Timothy Leary says, the equivalent of a psychedelic [F] effect
through sound, [C] light and rhythm.
[Bb] _ _ _ _ _ _
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_ We found in America that people have been _ misinformed about the Acid House movement
and we're always more or less _ told, oh yes, Acid House is dead now, it's not happening anymore.
But in fact it's just been re-termed rave.
[Gb] So if you hear people talking about going to a rave, it's what was [Gb] once an Acid House [G] party. _ _ _ _ _
[A] _ _ _ [Ab] _ _ _ _ _
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[A] _ _ [Db] _ _ [Ab] _ _ _ _
_ _ [B] _ _ _ [Ab] _ A [Eb] lot of people don't know how to [B] enjoy themselves. _
So they're dancing [Bbm] and it gets beyond [E] enjoyment and what they can [G] do with their bodies,
dancing [Gb] and movement, etc.
So many of them, it's basically, [F] they just [D] let their hair down.
[Bbm] They get so excited.
[Eb] _ And they let their pants down and other things.
And they show time.
Lots of people just get really excited and they don't know what to do.
So it's [Bb] a very physical manifestation.
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[Cm] _ _ _ [Eb] _ _ _ [Bb] _ _
[C] _ _ [Db] _ _ [Eb] _ _ [Bb] _ _
[Ab] _ _ _ [Eb] _ _ _ _ _
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[Bbm] _ _ [Eb] The idea of people [Gb] _
experiencing _ collective euphoria _ _
[C] and losing their paranoia about different groups of people
and different _ _ ethnic or _ tribal units, which England is full of, _ _ was a real threat.
Because once people have felt _ able to let go of fear
and discover that it's a real pleasure just to be out, happy with everyone else,
[N] you've got a real problem if you're trying to control everybody. _ _ _ _ _
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